Copyediting

I have worked as an editor, copyeditor, proofreader, and copywriter for over a decade. I have performed many of these functions since 2005 as an Associate Editor at Semiotext(e), an iconic intellectual press founded in New York City in 1974 and now based in Los Angeles. In 2014, I worked closely on the production of Semiotext(e)’s installation and pamphlet series for the Whitney Biennial. I have also worked with the Buffalo, NY–based proofreading firm Correct/ed Text; as a copywriter for KCRW’s Bookworm (National Public Radio); and as a masters thesis editor in the graduate program in Curatorial Practices and the Public Sphere at the University of Southern California.

I am available for freelance copyediting. My specialties are academic and critical monographs in the arts and humanities; translated creative manuscripts; multiauthor documents; and writing by nonnative speakers. Rates and references are available upon request. Please inquire via the contact page.

Selected Titles (copyedited, etc.)

Since cofounding San Francisco’s influential New Narrative circle in 1979, Robert Glück has been one of America’s finest prose stylists of innovative fiction, bending narrative into the service of autobiography, politics, and gay writing. This collection brings together for the first time Glück’s nonfiction, a revelatory body of work that anchors his writing practice. Glück’s essays explore the ways that storytelling and selfhood are mutually embedded cultural forms, cohering a fractured social reality where generating narrative means generating identity means generating community. These texts span the author’s career and his creative affinities—from lost manifestos theorizing the poetics of New Narrative; to encomia for literary and philosophic muses (Kathy Acker, the HOW(ever) poets, Frank O’Hara, Georges Bataille, and others); to narrative journalism, book reviews, criticism, and public talks.

In their wide-ranging critical dialogue, Ledare and Anastas probe the complexities of viewing [Ledare’s] Double Bind’s intimate performances and prolific imagery-from experiences of sensory overload or irritation, to notes of pleasure and humor-enlisting sexual-difference critiques along with a heterogeneous set of cultural and theoretical positions. Arranged in six sections, the dialogue addresses key concepts that structure Double Bind (as well as Ledare’s practice broadly): viewing, systemic conditions, enactment, installation and mass media, genealogy, and affect. The dialogue also appears with an introduction by Anastas, a preface by Ledare, and a chronology of Double Bind exhibitions and publications to date.

The Uprising is an Autonomist manifesto for today’s precarious times, and a rallying cry in the face of the catastrophic and irreversible crisis that neoliberalism and the financial sphere have established over the globe. Franco “Bifo” Berardi argues that the notion of economic recovery is complete mythology. The coming years will inevitably see new surges of protest and violence, but the old models of resistance no longer apply. Society can either stick with the prescriptions and “rescues” that the economic and financial sectors have demanded at the expense of social happiness, culture, and the public good; or it can formulate an alternative. For Berardi, this alternative lies in understanding the current crisis as something more fundamental than an economic crisis: it is a crisis of the social imagination, and demands a new language by which to address it.

Like Baudelaire’s gentleman stroller, Myles travels the city–wandering on garbage-strewn New York streets in the heat of summer, drifting though the antiseptic malls of La Jolla, and riding in the van with Sister Spit–seeing it with a poet’s eye for detail and with the consciousness that writing about art and culture has always been a social gesture. Culled by the poet from twenty years of art writing, the essays in The Importance of Being Iceland make a lush document of her—and our—lives in these contemporary crowds. Framed by Myles’s account of her travels in Iceland, these essays posit inbetweenness as the most vital position from which to perceive culture as a whole, and a fluidity in national identity as the best model for writing and thinking about art and culture.

Following Brazil’s first democratic election after two decades of military dictatorship, French philosopher Félix Guattari traveled through Brazil in 1982 with Brazilian psychoanalyst Suely Rolnik and discovered an exciting, new political vitality. In the infancy of its new republic, Brazil was moving against traditional hierarchies of control and totalitarian regimes and founding a revolution of ideas and politics. Molecular Revolution in Brazil documents the conversations, discussions, and debates that arose during the trip, including a dialogue between Guattari and Brazil’s future President Luis Ignacia Lula da Silva, then a young gubernatorial candidate. Through these exchanges, Guattari cuts through to the shadowy practices of globalization gone awry and boldly charts a revolution in practice.